Con caper Gambit has now begun filming over here in London, and here is the first image of leads Colin Firth and Cameron Diaz.

A remake of the popular 1966 feature, which starred Shirley MacLaine and Michael Caine, this version (scripted by Joel and Ethan Coen no less!) see’s Firth playing a British art curator who cooks up a plan to rip-off a rich art collector and calls on the talents of a Texas rodeo queen (Diaz) to help me with his scheme.

With a fine supporting cast (including the likes of Stanley Tucci, Cloris Leachman Alan Rickman and Tom Courtenay) and direction by Michael (Restoration) Hoffman, this is perhaps one of the more welcomed remakes of late. Firth appears to be channelling the image of original lead Caine with the dark-rimmed spectacles he’s wearing.

Premièring on the 10th of January 1927 Fritz Lang’s Metropolis did not receive unanimous positive reviews and was not the box office smash that UFA had perhaps been hoping for. For the US release the film was substantially altered and a significant amount of footage completely excised. This was just the beginning though and the film has since been released in a variety of cuts with a differing translations and scores. In 2008 a major discovery occurred and the most ‘complete’ version of Metropolis was found in Argentina.

You can find more details on the differences in the newly found version and my full review of the ‘complete’ cut here. The new restoration uses the best available material throughout and the only parts of the film that are not stunning in their quality, for a film over eighty years old, are the recently discovered scenes. Sourced from the Argentinian materials these are of extremely lower quality and restoration expert Martin Koerber even goes so far as to describe them (in the documentary included in this release) as “…the worst material I have ever seen in my life”. A digital restoration was undertaken though and although these sequences stand out as being of a much lesser quality what they add to the film in other areas make them essential.

The transfer to Blu-ray is of a very high standard with a clear 1080p transfer and a beautiful newly recorded score based on on the original composition for the film by Gottfried Huppertz. Apart from the obvious and unavoidable print damage issues on the main feature the only issues I found were a few picture errors on the documentary Die Reise nach Metropolis but these were extremely minor and will not effect one’s enjoyment.

The extras are particularly good, the disc including the aforementioned documentary and also a commentary from David Kalat and Jonathan Rosenbaum (not included on the US edition). The commentary is relatively lively and informative although there are perhaps too many occurrences where sections are read from articles on Metropolis. Perhaps most interesting is the pair’s discussion of the concept of the definitive version of Metropolis and how this seems to be at the expense of any other versions. The debate raised is an interesting one and is particularly relevant as MoC have only included the ‘complete’ cut on this disc. The Masters of Cinema Blu-ray is still an essential purchase though for any fan of the film and is an absolute joy to watch.

The Masters of Cinema edition of Metropolis is available to buy now on Blu-ray, DVD and limited edition dual format steelbook.

The complete list of the special features can be found below,

• 150-minute reconstructed and restored 2010 version (including 25 minutes of footage previously thought lost to the world)
• Separate DVD and BD editions with wraparound embossed sleeve, or Ltd Ed Steelbook Dual Format edition
• Pristine new HD transfer (1080p on Blu-ray)
• New 2010 symphony orchestra studio recording of the original 1927 Gottfried Huppertz score in 5.1
• Newly translated optional English subtitles as well as the original German intertitles
• Full-length audio commentary by David Kalat and Jonathan Rosenbaum
• Die Reise nach Metropolis (2010, 53 minutes), a documentary about the film
• 2010 re-release trailer
• 56-page booklet featuring archival interviews with Fritz Lang, a 1927 review by Luis Buñuel, articles by Jonathan Rosenbaum and Karen Naundorf, and restoration notes by Martin Koerber.

The 2010 Restoration of Metropolis is still in UK cinemas and I can highly recommend seeing it on the big screen as it is a wonderful experience (A list of screenings can be found here). Following this theatrical run the film is set to be released on DVD and Blu-ray by Masters of Cinema.

For anyone unfamiliar with Masters of Cinema, they are a fantastic DVD and Blu-ray label who describe themselves as “a specially curated DVD collection of classic and world cinema using the finest available materials for home viewing”. The digital theatrical presentation of Metropolis was of a very high standard and given Masters of Cinema’s track record with transfers (such as the impressive Blu-ray of Lang’s M) this is sure to be an essential purchase.

Metropolis will be released on DVD, Blu-ray & Limited Edition Dual Format Steelbook on the 22nd of November.

The special features are as follows.

SPECIAL FEATURES:
• 150-minute reconstructed and restored 2010 version (including 25 minutes of footage previously thought lost to the world)
• Separate DVD and BD editions with wraparound embossed sleeve, or Ltd Ed Steelbook Dual Format edition
• Pristine new HD transfer (1080p on Blu-ray)
• New 2010 symphony orchestra studio recording of the original 1927 Gottfried Huppertz score in 5.1
• Newly translated optional English subtitles as well as the original German intertitles
• Full-length audio commentary by David Kalat and Jonathan Rosenbaum
• Die Reise nach Metropolis (2010, 53 minutes), a documentary about the film
• 2010 re-release trailer
• 56-page booklet featuring archival interviews with Fritz Lang, a 1927 review by Luis Buñuel, articles by Jonathan Rosenbaum and Karen Naundorf, and restoration notes by Martin Koerber.
and more!

Metropolis is a film that is often celebrated by critics for its importance in film history and also for being an incredibly effective and beautiful film too. This praise is entirely justified as Fritz Lang’s 1927 film is a true masterpiece for so many reasons and this week it returns to UK screens with a beautiful new print featuring approximately 25 minutes of previously missing footage.

The Metropolis of the title is a huge futuristic city run by the dictator like figure of Joh Fredersen (Alfred Abel). The city is divided in two; the rich live high above where everything is plentiful and they are free to relax and enjoy life and below them is the lower level where the working class struggle for their lives, working long and arduous hours dominated by physical labour on the huge machines that run the city. Whilst frolicking in the gardens of the great city, Joh’s son Freder (Gustav Frohlich) sees a glimpse of what the other side of the city is like and embarks on a journey where he experiences the lives of those less fortunate than himself and uncovers a secret worker’s group led by the benevolent Maria (Brigitte Helm).

Joh also hears of this group through his spy, The Thin Man (Fritz Rasp), and enlists the scientist Rotwang to build a man-machine that has the appearance of Maria to infiltrate the group and incite them to violently revolt, thereby justifying a violent retaliation by Joh against the group.

The film’s story is actually relatively simple and the dialogue very sparse (represented by intertitles) but Lang clearly understood that this was a visual story and at the time very much a visual medium. Significant emotional moments and plot developments are beautifully conveyed through Lang’s direction and the performances of the lead cast. The overarching themes in the film are also effectively conveyed, albeit a little heavy handily at times, with a focus on the belief that regardless of class a person’s humanity is what is truly important and that class conflict can be resolved through the bringing together people of different classes rather than violent antagonism.

When the film originally premièred it was met with a mixed reaction and was re-cut from its original 150 plus minute runtime for release in Germany and abroad. There were now versions being circulated of various lengths (all much shorter than the original cut) and these shorter cuts were supposedly even projected at the incorrect frame rate in some theatres.

In 1984 a new ‘restoration’ was undertaken and overseen by Giorgio Moroder. In a somewhat baffling move Moroder used subtitles instead of intertitles, added colour and a synth rock soundtrack and trimmed the film down to a very lean 80 minutes. This version was my first experience of Metropolis in the cinema and it was not a happy one. This version robbed the film of a lot of its beauty and the depth and scale of the story was all but lost. Probably the next most significant version (although there were others) was a restored version released in 2002 that ran for just over two hours. This version received limited theatrical releases and a DVD release and it was widely considered to be the closest we would ever come to seeing the film as it was originally intended. Seeing this version projected was a beautiful experience and the magnificence of the film was well served by this restoration.

In 2008 though news broke that a ‘complete’ version of the film had been found in Argentina and despite the film being of incredibly poor quality and on 16mm it was an incredible find. Unearthed at the Museo Del Cine Pablo Ducros Hicken in Buenos Aires the new footage represented an important cinematic discovery, footage had been found that was believed lost forever. A new restoration was almost immediately undertaken and a completion date of 2010 promised. In February of this year, as part of the 60th Berlin Film Festival, Metropolis once again premiered, now over 150 minutes long and featuring scenes that had not been seen in Germany since the film’s premiere over eighty years ago.

The 2010 restoration is for the most part derived from other better quality prints than the Aregentinian one and the only time this negative was used in the restoration was for the previously missing scenes. This means that when watching the film there are sections that have a very different look as they are still quite badly damaged and have a slightly different aspect ratio. The improvement made to this footage through digital restoration is incredibly impressive though when compared to what was originally found. There are also a few minutes still not in the film but these are substituted by title cards that supply information on what is missing. The effect when viewing is not as jarring as it may sound and the importance of these scenes more than makes up for any issues. The film is presented with a new specially commissioned score (live or recorded depending on the screening you attend) based on the original 1927 George Huppertz score.

What is so striking about this cut is quite how important these previously missing sections are. Characters such as The Thin Man, Georgy and Josephat, who seemed somewhat unimportant and minor in previous cuts are revealed to be far more important and the Thin Man in particular is a revelation, both in his importance in the story and also in the impressive performance by Fritz Rasp. Also incredibly significant in this cut is the character interactions that were entirely lost or shortened in previous versions. These help build the dynamics between various characters and also add depth to the characters which was missing in places. The father, Joh, for instance is fleshed out considerably more and it is easier to get a greater understanding of his motivations and emotions. Now not simply a somewhat one-dimensional villain, Joh is a conflicted and complex character who goes through an emotional and idealogical arc previously unseen. This adds further depth to the story and makes the ending more effective and in many ways more justified.

Metropolis’ influence can be felt in so many films since its release and the effect on the work of filmmakers such as Terry Gilliam, Ridley Scott, Stanley Kubrick and Tim Burton (to name four out of hundreds) is enough to warrant the film an important place in cinematic history but there is more to Metropolis than mere historical importance. The film is a great work of storytelling with emotional and thematic elegance throughout. Metropolis is released in cinemas nationwide beginning with the premiere tonight at the BFI. There is no question as to whether or not you should see this film, you must see this film.

To find out where the 2010 restoration of Metropolis is playing near you, click HERE and then rush to buy tickets.

So much has been written on Jean-Luc Godard’s À bout de souffle that all I can do is champion its life and its vivacity, and urge you to catch this on its 50th anniversary re-release in cinemas and on the restored DVD.

The restored print was overseen by the film’s cinematographer Raoul Coutard and Studio Canal’s Beatrice Valbi and looks tremendous; if this is your first time of seeing this film you are in for a treat.

I’m loathe to describe the plot for you, it will sound trite and much of the attraction and enjoyment of the film comes from discovering it, as it retains its freshness fifty years on. Godard’s playfulness is tangible in every frame, there is an effortless air of laconic charm in the presence of Jean-Paul Belmondo and elfin Jean Seberg sparkles on screen.

Few films can act as a spyglass on a time so riddled now with parody, and yet with Godard’s film there is no pretense, just a willingness to explore two characters orbiting each other with the power and pressures of egotism and naiveté. The dialogue is suffused with an erotic charge and what struck me most watching it again is the potential held within the film – not just in its young characters but in the language of cinema.

There is a freedom and a breaking away from tradition in Godard’s film that is contagious and I know I’ll be revisiting this film many more times in the future. In the current clime of by-the-numbers reheatings of old properties it is humbling to know that the influence of Godard’s film survives and flourishes today in new independent cinema.

Enjoy and celebrate this restoration, in fifty years time there will be another generation doing the same thing, and this film will have just as much relevance and spark as it does today.

Craig put up the trailer for this restored version on the site recently, click here to enjoy.

Breathless (A bout de souffle) was Jean Luc Godard’s first feature length film and an iconic film in the Nouvelle Vague, helping to bring attention to French cinema in the 60s. In many ways Breathless has come to define the French New Wave for many people and the film has also been an influence on many filmmakers since its release in 1960.

To celebrate the 50th anniversary of the release of the film, Optimum are bringing Breathless back to cinemas with a new restored print. The restoration was supervised by Beatrice Valbin at Studio Canal and the film’s cinematographer, Raoul Coutard.

I love Breathless and relish the opportunity to reconnect with this film on the big screen. The new restoration is also being released on DVD and Blu-Ray on the 13th of September and I also look forward to this as I am sure it will be a wonderfully presented release.

If you’ve never seen the film this is the perfect time to see it for the first time. Wim Wenders puts it very nicely:

50 years later, Godard’s first is still breathtaking, and Belmondo and Seberg are younger than they ever were.

Embedded below is the new trailer for the restored print which is a homage to the original trailer (embedded below it). The new trailer was written and directed by Rialto co-president Bruce Goldstein and edited by Arthur Carlson.

Discovered in a film museum in Argentina in 2008 the new longer cut of Metropolis has been restored and recently screened outdoors at the Berlin Film Festival. It is set to be released again in theatres and on DVD and Blu-Ray later this year.

The version being released is 25 minutes longer and some truly exceptional restoration work has been done to improve the quality of the image.

I absolutely love Metropolis and have seen it at the cinema a number of times and have always been swept up by its magnificence. It is a beautiful film and the story is incredibly emotionally engaging.

If you’ve never got around to seeing this highly influential masterpiece then I can definitely recommend taking advantage of the opportunity later this year to see it on the big screen.

Embedded below is the trailer for the new restored version courtesy of RopeofSilicon.com.

There are classic movies and there are enduring tales of timeless adventure; you could fill a dozen multiplexes with critically acclaimed films but often the most perfect films are relegated to DVD shelves and (if we’re lucky) a Blu-ray restoration.

Films were meant to be seen on the big screen and now the BFI are giving UK readers the chance to see one of the most magical and sublime fantasies ever to charm the ruby slippers from our feet.

The Wizard of Oz is a film so enthralling and beautiful it will endure as long as human beings have eyes, and now it is being shown across the country complete with a crystal clear digital restoration, so expect vivid witchy greens and the rubiest slippers you’ve ever seen, as well as well as the numerous lions, and tigers and bears (you know the rest).

This fairytale has a delicious dark side and is a joy to behold at every viewing, time hasn’t weathered its adventurous spirit and if this is the first time you will have seen it (firstly, where have you been?) you must must take the opportunity the BFI are offering you this Christmas and indulge in a truly classic movie.

The BFI sums it up perfectly, with a playful hint to its legacy:

One of the most enduringly enjoyable family entertainments, The Wizard of Oz has enthralled generations of film-goers, appealing to all ages and across all cultures. Now 70 years old, it remains the perfect Christmas treat – a must for children, the Young in Heart, and all friends of Dorothy.

I’ve listed the cinemas that are playing The Wizard of Oz during December, click here to find out more and book your tickets, trust me – your heart will love you forever.

Mon 7 Dec
Cineworld cinemas across the UK

Sat 12 Dec
BFI Southbank

Wed 16 Dec
The Poly, Falmouth

Thu 17 – Fri 18 Dec
Stamford Arts Centre

Fri 18 – Tue 24 Dec
Gate Picturehouse

From Fri 18 Dec
Picturehouse at FACT Liverpool
Harbour Lights Southampton

Sat 19 Dec
Watershed Bristol
Broadway Nottingham

Sun 20 Dec
Duke of York’s Picturehouse, Brighton

Mon 21 – Tue 22 Dec
Filmhouse Edinburgh

Wed 30 – Thu 31 Dec
Tyneside Cinema, Newcastle